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If Ward. The composition frame in the film and television Figure 4 Sometimes the forest we "do not see" a tree. Changing the shooting angle, we can select the shape or to focus on the background. b) the image is not recognized, it may be followed by a quick search in the memory and try to find something similar in the mental image.When an unexpected image can not be identified, or of him, it is assumed, or else he does not notice. People usually ignore what they can not understand.For example, foreign news in the news program when the political context or geographical situation unknown to the audience, cease to be information as such, and not perceived, unless there is no way to draw a parallel with chemto known.Correspondent, who is familiar with the history of the issue, studied it for a few days, weeks or even months may have excessive for sending them to this day the two-minute reportage background information. This can lead to a reassessment of prior informed the audience on the issue.A similar long preparation and sometimes accompanied by shooting several staged shots, lasting only 30 seconds when the crew beforehand looking at and discussing every detail. The viewer who sees these pictures for the first time, must understand the fruits of these multi-day / multi-week thoughts in just 30 seconds. P. Ward.Picture Composition for Film and Television We predict what is likely to happen in the future, relying on our experience in the past, and on this build forecasts. In search of the foundations of a visual effect should be considered a frame structure and its composition.There is a problem of perception of the fundamental difference between the "reading" of the space in the two-dimensional image, when the assumption about the shape, depth, and so on. D.should be done when viewed from a certain fixed point, and between the three-dimensional perception of space when confirmation for guesses we and to move inside the space. We can not go around the two-dimensional image. Our knowledge in perception based on the experience of movement in three-dimensional world.The most important component of the test of visual information - movement in space. We use perceptual skills acquired in the three-dimensional world, and often use them to bitmap images in two dimensions, ie. E. On the plane when we can not check out our guesses about the depth of the object by moving into the space.Although the image, Movie or video camera recorded, may be identical to the image reflected on the retina, the fundamental difference is the inability to verify the performance of depth two-dimensional image by moving into the space.

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The moving camera can reproduce some of the lifestyle changes that occur when we move in space, but can not reproduce the visual inspection of deep space, possibly due to binocular vision and head movements .Many aspects of visual information perceived by us, is not realized as long as an attempt is made to convey a three-dimensional image plane.